The mother inherently concludes that there are only two types of women: respectable women and “sluts.” Through the entire story, the mother ofttimes implicates the daughter of being bent on becoming a “slut.” Her suspicion doesn’t appear to be aggravated by the daughter’s behavior. The daughter resembles good behavior this is shown by her first input in the story, “but I don’t sing benna on Sundays at all and never in Sunday school” (171). That is a response to her mother’s question, “is it true that you sing benna in Sunday school?” (171). Which was followed by the mother’s instruction that her daughter not sing benna in Sunday school.
Throughout the story, the primary phrase,...
... middle of paper ...
...ughter to realize that she is “not a boy” (171) and that she needs to act like a lady. Doing so will win the daughter the respect from the community that her mother wants for her.
“The slut youre bent on becoming” and other variations of the line reoccur throughout the text and may be one of the seemingly obvious expressions that propounds the mother’s ramification with the system and illustrates her efforts to shape a daughter who performs her instructions appropriately.
Fisher, Jerilyn, and Ellen S. Silber. Women in Literature: Reading Through the Lens of Gender. Westport, Conn: Greenwood Press, 2003. Print.
Bailey, Carol. "Performance and the Gendered Body in Jamaica Kincaid's "girl" and Oonya Kempadoo's Buxton Spice." Meridians: Feminism, Race, Transnationalism. 10.2 (2011): 106-123. Print.
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